scholarly journals REPRESENTATION OF JAVANESE IDENTITIES IN WAYANG GEDHOG DEPICTING PANJI TALES

Jantra. ◽  
2019 ◽  
Vol 14 (2) ◽  
pp. 203-212
Author(s):  
Rudy Wiratama
Keyword(s):  
20Th Century ◽  
Social Order ◽  
Performing Arts ◽  
Political Institution ◽  
Self Identity ◽  
Library Research ◽  
The Social ◽  
Performing Art

Wayang Gedhog is a genre of puppetry which once ever enjoyed its popularity in Java, particularly in Surakarta and Yogyakarta until the beginning of 20th century. Its Panji-themed lakon is always for all time identified with court traditions. It implicitly reflects the social order and paradigm of the members of this political institution from its court aristocrats to low-ranked officials. Wayang Gedhog is undergoing an era of change where the life of performing arts is rapidly developing. Using Homi Bhabha’s theory about Self Identification, this research aimed to reveal how far the lakon and artefacts of Wayang Gedhog represents today’s Javanese thoughts and manners and the factors that have influenced the matters. The data were collected from: 1) the information gathered especially from the courtiers, as seen from the social, cultural, religious and political aspects, 2) library research, and 3) puppets of Wayang Gedhog of Surakarta style. This research has found that Wayang Gedhog as a performing art does not only function as an entertainment or aesthetical presentation, but also record the efforts of the Javanese living in the courts to redefine their concepts of self identity.

scholarly journals Nisā` Diction as the Concept of Women's Domestic Social Piety in al-Qur’an

2021 ◽  
Vol 5 (2) ◽  
pp. 169-186
Author(s):  
Muhamad Hanif
Keyword(s):  
Gender Studies ◽  
Social Order ◽  
Research Results ◽  
Library Research ◽  
Women's Participation ◽  
The Social ◽  
Domestic Roles ◽  
Islamic View ◽  
The Ideal

This library research analyzes the word Nisā` in al-Qur'an, which describes the women’s domestic roles and standards of social piety in Islamic view. It uses the philosophical-hermeneutical approach and social piety theory to analyze the data. This research results in three main findings: First, social piety in Islam manifests responsibility as God's caliphs on earth. Second, one of social piety description  in Islam is by the use of word Nisā` repeatedly in different verses and surahs of al-Qur'an. The last, Nisā` diction to describe the social piety concept, according to al-Qur'an, places women in the domestic dimension to show women's participation as God's caliphs on earth in building the ideal social order. This research contributes to the gender studies overlooked by previous researchers, as the concept of Nisā` in al-Qur'an was ignored.

scholarly journals Penciptaan Seni Pertunjukan Berbasis Penelitian

Panggung ◽  
2018 ◽  
Vol 28 (1) ◽  
Author(s):  
I Gusti Ayu Srinatih
Keyword(s):  
Performing Arts ◽  
Personal Taste ◽  
Creative Processes ◽  
Library Research ◽  
Art Works ◽  
New Type ◽  
Object Of Study ◽  
Performing Art

Abstract  In the discourse of performing art creations, there is an assumption that creating art works is not categorized as a scientific, based on a personal taste and instinctive. This article uses a qualitative research with the performing arts approach. By using ethnographic methods, this article focuses on the role of performers in the process of creating the performing arts. Data are collected through interviews, library research, and document studies. As an object of study, 5 (five) outstanding works will be discussed, namely: Terompong Beruk (1982), Bali Agung (2010), Ratricetana (2011), Terompong Beruk Bangkok (2015), and Stri Wiroda (2015). The results of this study indicate that the models of creative as parts of important processes in creating performances are diverse. Through researching creative processes of the works, performers can create new type of works that are different from others, and distinctive from previous works. The novelty of the creative processes contains the quality of aestethic in forms and contents, as well as their values and functions. Keywords: research, creative processes, new creations, performing arts. Abstrak Dalam pewacanaan hasil penciptaan seni pertunjukan, masih ada anggapan bahwa menciptakan karya seni itu sesuatu yang tidak ilmiah dan hanya berdasarkan selera dan insting belaka. Artikel ini merupakan hasil penelitian kualitatif dengan pendekatan seni pertunjukan, dengan menggunakan metode etnografi, dengan fokus pada pencipta/seniman seni pertunjukan. Data-data yang dikumpulkan didapat melalui observasi, wawancara, riset kepustakaan, dan studi dokumen. Sebagai objek kajian, akan dibahas 5 (lima) buah karya cipta  seni pertunjukan yang berbasis penelitian, yaitu: Terompong Beruk (1982), Bali Agung (2010), Ratricetana (2011), Terompong Beruk Bangkok (2015), dan Stri Wiroda (2015).  Adapun hasil dari kajian ini menunjukkan bahwa model proses kreatif yang sangat penting dalam penciptaan seni pertunjukan itu sangat beragam. Melalui penelitian mengenai kajian proses kreatif tersebut dapat dihasilkan karya seni pertunjukan kreasi baru yang berbeda satu sama lain, dan berbeda dari proses kreatif karya sebelumnya. Nilai kebaruan proses kreatif itu mengandung keindahan bentuk dan isi, serta nilai dan fungsinya.   Kata-kata kunci: penelitian, proses kreatif, penciptaan, seni pertunjukan

scholarly journals MULTIKULTURAL PERSPEKTIF SOSIOLOGIS

2021 ◽  
Vol 1 (2) ◽  
pp. 188
Author(s):  
Nofal Liata ◽  
Khairil Fazal
Keyword(s):  
Social Order ◽  
Local Level ◽  
Access To Education ◽  
Multicultural Society ◽  
Library Research ◽  
The Social ◽  
Ancient Times ◽  
Unequal Access ◽  
The Times ◽  
Gathering Place

This study discusses the concept of a multicultural society in a sociological perspective, where the Indonesian state as a gathering place for various ethnic groups, nations, religions and beliefs in its history has provided valuable lessons. There are times when diversity in Indonesia creates conflict, but in other places there is also the diversity that is owned by the Indonesian people as a source of strength to keep each other from being crushed by the progress of the times. Understanding multiculturalism is not something that must be owned by intellectuals or those from community leaders only, but all levels, layers, and lines of society become a necessity for the importance of understanding this multiculturalism. Because at this time the reality is that Indonesian people in general are very vulnerable to disaster due to SARA (ethnic, religion, race, and inter-group) issues that are blown by electronic media. In order to prevent "bloody conflict" disasters from happening again, multiculturalism will always be relevant to be discussed throughout the ages, considering that generations are always changing. The purpose of this study is to bring the understanding of multiculturalism in particular to the younger generation, and in general at all levels of society, not just an academic discourse. The method in writing this work uses library research, as well as by presenting examples of cases that have occurred in Indonesia. The results of the study in the discussion chapter, in general it can be concluded that the understanding of multiculturalism in Indonesia is not something that comes from outside, meaning that local wisdom created from ancient times has also strengthened the conditions of multicultural society. But on the other hand, unequal access to education by the community until now, the potential for horizontal conflict is always there. In the context of the consequences of a pluralistic society in Indonesia, that within a diverse structure, the seeds of conflict at times become a latent threat to damage the social order. And problems at the local level will easily become national problems because there are no longer limits for people to consume information

scholarly journals Hindu Religion And Traditional Performing Arts In The Development Of Tourism In Bali

2018 ◽  
Vol 1 (2) ◽  
pp. 74
Author(s):  
I Gusti Ngurah Seramasara
Keyword(s):  
Performing Arts ◽  
Negative Influence ◽  
Social Phenomena ◽  
Hindu Religion ◽  
The Social ◽  
Cultural Ideology ◽  
Relationship Of ◽  
Performing Art ◽  
The Impact ◽  
The Relationship

Religion and traditional performing arts in Bali are two fields that are not separated as cultural identities that make Bali famous in the eyes of the world and admired as being able to create peace and prosperity. Based on consideration of Hinduism and the traditional performing arts, tourists arrive to visit Bali. Therefore this paper aims to analyze the relationship between Hinduism and traditional performing arts and its relation to tourism development, as well as the impact it has on the social phenomena of Balinese society. There is an interest in maintaining the relationship of Hinduism with traditional performing arts as part of a whole religious ceremony with the development of tourism, but there is a very strong stream of commercialization, which can destabilize the relationship between Hinduism and the life of the performing arts. This inequality is a problem that needs to be studied because it is not uncommon for the packaging of sacred art to become a tourist art, thereby reducing the importance of traditional performing arts’ sacredness. The effort to counteract the aforementioned problem will be the main focus that will be studied in this paper. The method used to examine the problems above is qualitative research methods based on the historical paradigm. The historical paradigm understands changes through sources, documents, artifacts, texts on performing arts and observations and interviews in connection with the current conditions. As an analytical tool, the concepts of ideology, communication and acceptance are used. The results of this writing indicate that there is a cultural ideology, namely the classification of performing art and the concept of cultural tourism to counteract the negative influence of tourism on Hindu religious life and Balinese culture.

scholarly journals uso del concepto cáncer como metáfora social. Análisis a través de la prensa escrita (1903-1912)

STUDIUM ◽  
2020 ◽  
Author(s):  
Laura Almudéver Campo ◽  
Ramón Camaño Puig
Keyword(s):  
Mass Media ◽  
20Th Century ◽  
Social Problem ◽  
Social Order ◽  
Key Words Cancer ◽  
Palabras Clave ◽  
The Social ◽  
Spanish Press ◽  
The Times ◽  
Siglo Xx

El objetivo de este artículo es analizar el uso del término cáncer desde una perspectiva social y su representación en la prensa española a comienzos del siglo xx (1903-1912), en los periódicos La Vanguardia y ABC. A partir de la hemeroteca digital de ambos medios se seleccionaron todas y cada una de las veces que se pudo identificar el término «cáncer» y su aplicación metafórica desde una perspectiva de problemática social, procediéndose a la descripción de los rasgos significativos y al análisis del discurso. Encontramos un uso de la palabra cáncer como metáfora social a lo largo del periodo estudiado, siendo común extender la metáfora del cuerpo enfermo a situaciones de orden político o social. El cáncer es una enfermedad con un gran impacto en nuestra sociedad, cuya utilización metafórica es descriptiva y expresa el deseo del cambio, pero su empleo puede comportar la estigmatización de los enfermos afectados por esta patología. Palabras clave: cáncer, metáfora, sociedad, prensa, España.   Abstract The objective of this article is to analyze the use of the term cancer from a social perspective and its representation in the Spanish press at the beginning of the 20th Century (1903-1912), in the newspapers La Vanguardia and ABC. From the digital mass media library, each and every one of the times that the term «cancer» and its metaphorical application could be identified from a perspective of the social problem was selected, proceeding to the description of the essential features and the discourse analysis. A use of the word cancer as a social metaphor was found throughout the studied period, being common to extend the metaphor of the sick body in situations of political or social order. Cancer is a disease with a great impact on our society, metaphorical use is descriptive and expresses the desire for change, but its use may involve the stigmatization of patients affected by this pathology. Key words: cancer, metaphor, society, press, Spain.

Power

Sociology ◽  
2011 ◽  
Author(s):  
Stewart Clegg
Keyword(s):  
Social Sciences ◽  
Social Science ◽  
20Th Century ◽  
Social Order ◽  
Causal Analysis ◽  
16Th Century ◽  
Core Concept ◽  
Ancient Greek ◽  
Community Power ◽  
The Social

The concept of power is absolutely central to any understanding of society. Despite its ubiquity, power is arguably one of the most difficult concepts to make sense of within the social sciences. Nonetheless, power has been a core concept for as long as there has been speculation about the nature of social order. The ancient Greek philosophers of Athens pondered about it, usually in constitutional terms; Christian philosophers such as St. Augustine moralized about it, as Wolin 2004 discusses (see Classic Works); however, it was not until the epochal ideation of the Florentine Machiavelli, in the 16th century, and the Englishman, Hobbes, in 1651, that the foundations for an empirical analysis were established. Machiavelli, the Florentine diplomat and author who lived from 1469 to 1527, writing in his book The Prince (composed around 1513), had little time for noble and normative theories and was strongly empirical and nonnormative, reflecting on how power was and should be deployed in statecraft. Hobbes was more concerned with laying foundations for causal analysis. The Hobbesian view proved to be the most influential in mainstream social science, especially as the mid-20th-century Community Power Debate developed. Machiavelli’s work took on renewed interest, however, as the influence of Foucault’s work played out and emphasis shifted from causality to strategy.

scholarly journals Toward a New Concept of Progressive Art: Art History in the Service of Modernisation in the Late Socialist Period. An Estonian Case

2019 ◽  
pp. 211-223
Author(s):  
Krista Kodres
Keyword(s):  
Soviet Union ◽  
20Th Century ◽  
Social Order ◽  
Art History ◽  
Human Society ◽  
Socialist Republic ◽  
Soviet Socialist Republic ◽  
The Social ◽  
Art Historians ◽  
Socialist Art

The paper deals with renewal of socialist art history in the Post-Stalinist period in Soviet Union. The modernisation of art history is discussed based on the example of the Estonian Soviet Socialist Republic (Estonian SSR), where art historians were forced to accept the Soviets’ centrally constructed Marxist-Leninist aesthetic and approach to art and art history. In the art context, the idea of progressiveness began to be reconsidered. In previous discourse, progress was linked with the “realist” artistic method that sprang from a progressive social order. Now, however, art historians found new arguments for accepting different cultures of form, both historical and contemporary, and often these arguments were “discovered” in Marxism itself. As a result, from the middle of 1950’s Soviet art historians fell into two camps in interpreting Realism: the dogmatic and revisionist, and the latter was embraced in Estonia. In 1967, a work was published by the accomplished artist Ott Kangilaski and his nephew, the art historian Jaak Kangilaski: the Kunsti kukeaabits – Basic Art Primer – subtitled “Fundamental Knowledge of Art and Art History.” In its 200 pages, Jaak Kangilaski’s Primer laid out the art history of the world. Kangilaski also chimed in, publishing an article in 1965 entitled “Disputes in Marxist Aesthetics” in the leading Estonian SSR literary journal Looming (Creation). In this paper the Art Primer is under scrutiny and the deviations and shifts in Kangilaski’s approach from the existing socialist art history canon are introduced. For Kangilaski the defining element of art was not the economic base but the “Zeitgeist,” the spirit of the era, which, as he wrote, “does not mean anything mysterious or supernatural but is simply the sum of the social views that objectively existed and exist in each phase of the development of humankind.” Thus, he openly united the “hostile classes” of the social formations and laid a foundation for the rise of common art characteristics, denoted by the term “style.” As is evidenced by various passages in the text, art transforms pursuant to the “will-to-art” (Kunstwollen) characteristic of the entire human society. Thus, under conditions of a fragile discursive pluralism in Soviet Union, quite symbolic concepts and values from formalist Western art history were “smuggled in”: concepts and values that the professional reader certainly recognised, although no names of “bourgeois” authors were mentioned. Kangilaski relied on assistance in interpretation from two grand masters of the Vienna school of art history: Alois Riegl’s term Kunstwollen and the Zeitgeist concept from Max Dvořák (Zeitgeist, Geistesgeschichte). In particular, the declaration of art’s linear, teleological “self-development” can be considered to be inspiration from the two. But Kangilaski’s reading list obviously also included Principles of Art History by Heinrich Wölfflin, who was declared an exemplary formalist art historian in earlier official Soviet historiography. Thaw-era discursive cocktail in art historiography sometimes led Kangilaski to logical contradictions. In spite of it, the Primer was an attempt to modernise the Stalinist approach to art history. In the Primer, the litmus test of the engagement with change was the new narrative of 20th century art history and the illustrative material that depicted “formalist bourgeois” artworks; 150 of the 279 plates are reproductions of Modernist avant-garde works from the early 20th century on. Put into the wider context, one can claim that art history writing in the Estonian SSR was deeply engaged with the ambivalent aims of Late Socialist Soviet politics, politics that was feared and despised but that, beginning in the late 1950s, nevertheless had shown the desire to move on and change.

scholarly journals Makna Simbolis Sumbang Duo Baleh dalam Seni Pertunjukan Wanita Minangkabau

2011 ◽  
Vol 12 (2) ◽  
Author(s):  
Fuji Astuti
Keyword(s):  
Social Order ◽  
Performing Arts ◽  
Formal Education ◽  
Great Opportunity ◽  
Women's Participation ◽  
The Social ◽  
Performance Arts ◽  
The World ◽  
The One ◽  
The Village

The limitation of women’s opportunities in the activities of the performing arts in the past were opportunities associated with the regulation norms in the foundations of Minangkabau customs. Within the social order, Minangkabau custom placed a woman as a person having the autonomy known as Bundo Kanduang, a perfect woman that should be the model for her descendants, the light in the village, the one who can keep the beauty of the country. Because of this, the women’s participation was limited around Rumah Gadang. In Line with the development of the era, the improvement on formal and non-formal education makes the Minangkabau women aware their limitation to participate in the world of performance arts. Nowadays there is a great opportunity for the women to determine their own choices in the performance arts. This opportunity has resulted in the more dominant presence of woman in the Minangkabau performing arts. Particularly in the world of dancing, the initiators of dance creation art have produced the dances with both the masculine and feminine moves which can be performed by Minangkabau women in the world of performing arts. The most interesting thing is there is a widely open opportunity for the women make their own choices. However, all the movements and behaviors of the Minangkabau women should be based on the social norms that are set in the philosophy of sumbang duo baleh and Alua jo patuik Raso jo pareso. Raso dibao naiak, pareso dibawo turun. Keywords: symbolic meaning, sumbang duo baleh, performing arts

scholarly journals Born in the body of beasts. Animals and the social order in didactic Buddhist literature of Buryat-Mongols (XIX- beg. XX century)

2020 ◽  
Vol 41 ◽  
Author(s):  
Ayur Zhanaev
Keyword(s):  
20Th Century ◽  
Social Order ◽  
The Body ◽  
Human Being ◽  
Species Relationships ◽  
Buddhist Literature ◽  
Social Sphere ◽  
The Social ◽  
Universal Order ◽  
Insight Into

This paper engages with current discussions concerning the ways in which human cultures construct the sphere labelled as “social” against that of the broadly defined environment. I contribute to these discussions with an analysis of the didactic Buddhist literature of Buryat-Mongols (19th–beg. 20th century), focusing on the image of non-human animals and their position in the social/universal order. With the emergence of environmentalist trends in the humanities, pre-modern/“non-Western” inter-species relationships have often served as counter-alternatives to the problematic “Western” nature-culture dichotomy. While expecting to see the human being described as a part of “nature” in the analyzed texts, I found a different picture: the anthropocentric social sphere is clearly distinguished from animals, and in some fragments, the idioms used with regard to animals are reminiscent of European evolutionist discourse. Through an exhaustive analysis of Buryat attitudes towards animals is beyond the scope of this study, this literature gives insight into a particular cultural discourse as represented in reputed sources of the period. 

The Social Order Yields to Functional Analysis

1958 ◽  
Vol 3 (6) ◽  
pp. 158-160
Author(s):  
LAWRENCE SCHLESINGER
Keyword(s):  
Functional Analysis ◽  
Social Order ◽  
The Social
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